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Lot 848
A JAPANESE BONE NETSUKE MEIJI 1868-1912 Depicting an armour-clad samurai, possibly Kato Kiyomasa, restraining a tiger beneath him, holding a short dagger in his right hand ready to administer the fatal blow, the feline with its mouth open and baring its fangs, unsigned, 4.4cm. Kato Kiyomasa (1562-1611) was a daimyo living during the Azuchi-Momoyama and Edo periods. Famous for his uncompromising militaristic views, he led several successful campaigns against Joseon in Korea. He established and expanded many castles, including Kumamoto, and is often represented practising his hobby of hunting tigers.
Lot 391
A vintage boys silk suit in green and lilac, a fan, scarves, a yellow gypsy shawl with tassels, vintage cotton undergarments, a lace top and a small silk camisole, together with a Biba shawl, an American wolf fur hunting hat, a fox fur stole, a selection of ladies' hats, a Paul Rochas gilt bracelet, three pairs of Rochas earrings and a gilt brooch
Lot 136
A .31 calibre Hopkins & Allen percussion cap single action five shot revolver:, the plain 5 inch barrel stamped 'Hopkins & Allen MFG Co Norwich CT' to the top and numbered '844' beneath, under-barrel loading lever with ball catch, the cylinder engraved with oval panels of hunting scenes, two piece wooden grip, 25.5cm long.
Lot 147
An early 20th century Continental hunting knife:, the single edge clipped back Bowie style blade with engraved decoration and dated '1921' to the ricasso, shell pattern lorgnette and oval hilt with quillon, one piece bone grip with brass pommel, in a brass mounted black painted wooden scabbard, blade length 18cm
Lot 203
A 19th century English Bowie style hunting knife by William Jackson Sheffield:, the straight single edge blade with clipped back point, signed as per title to ricasso, oval silver plated hilt, moulded resin grip with inset silver plated flowerheads, moulded makers mark and registration lozenge for '6th Nov/Dec, 1871 in a leather scabbard with silver plate mounted throat, 17cm blade length.
Lot 265
A late 18th/early 19th century Continental silver and ivory handle hunting hanger:, the curved single edge blade with clipped back point having traces of blue steel decoration of a man holding a sword aloft, shaped silver hilt with vacant cartouche, one piece ivory grip with silver studs and backstrap, blade length 57cm.
Lot 610
CHARLES HENRY AUGUSTUS LUTYENS (1829-1915Portraits of Rambler and Marksman, a huntsman and hounds beyondsigned and dated 'C. Lutyens 1880' (lower left)oil on canvas48 x 76 in (121.9 x 193.1cm)Provenance: Possibly commissioned by George William Coventry, 9th Earl of Coventry (1838-1930); thence by family descent Croome Court House Sale, Worcestershire 1948; A Herefordshire Family, by descent Russell, Baldwin & Bright Auctioneers, Leominster, 5th October 1995 Lot 768 when purchased by the present vendorLiterature: 'The Croome Hounds' by Daphne Moore. Country Life Magazine c.1950Rambler (b.1873) and Marksman (b.1874) were favourite hounds of Lord Coventry. He was a keen huntsman having founded the North Cotswold Hunt in 1867 and in 1882 The Croome. Besides founding two Hunts, he also held the unique distinction of owning racehorses that won two Grand Nationals in consecutive years.Daphne Moore, the hunting correspondent writing about the Croome Hounds c.1950, emphasized the influence of Rambler as a perfect type of hound. 'Who could have dreamed that in 1949 well-bred hounds in almost every kennel in England would have at least a trace of Rambler's blood in their veins ?'...to the hound-man The Croome and the name of Coventry immediately recalls Rambler. Anyone who has seen his portrait by Lutyens, will remember him as being the perfect type of hound for any age and any country...' Charles Lutyens the artist spent his early adult life in the Army, joining the 20th foot and sailed with them in 1850 to serve in Canada. In 1857 he left the army to take up life as professional artist. He based himself at Onslow Square, London where he soon established a fashionable practice. During this period he became a friend of Edwin Landseer PRA, and after whom he named his son in 1863. He exhibited at The Royal Academy between 1861 and 1903. His patrons included the Duchess of Montrose, Lord Bradford and The Duke of Portland
Lot 134
GEORGE MACDONALD. At The Back of the North Wind. Illustrated Lavrome Housman and Arthur Hughes. Published Blackie c.1900. Thoughts on Hunting. Illustrations by C. Denholm Amour. Published Hodder and Stoughton. TOGETHER WITH A MIXED SELECTION OF TITLES relating to Poetry, travel and topography including various H.V. Morton titles in D/j. The Arms of Krupp 1587-1968, signed by William Manchester (no D/j) with various others (contents of one box)
Lot 29
Jack Butler Yeats RHA (1871-1957) The Creole (1946)oil on boardsigned 'JACK B.YEATS' lower left 23 x 35½cm (9.1 x 14in)Sold by the artist to Reeves Levanthal, USA, 1946; Collection of Joseph B.Gallagher, New York; Sotheby's, London, The Irish Sale, 11 May 2006, Lot 69; Private Collection "Jack B.Yeats - A Catalogue Raisonne of the Oil Paintings" by Hilary Pyle, No.787, p.709 This is a late painting by Yeats, one in which memory and imagination are to the fore, and the artist's concern for depicting reality has receded, to the point where the painting is becoming largely an abstract work of art; the forms of rock, sea and ship are barely discernible within a glorious haze of expressionist paintwork. Set against a suggested, rather than represented, background of sea and rocky coastline, the Creole, a two-masted sailing vessel, is moored against a quay wall. The focal point of the painting, Creole is framed by two darker forms, of warehouses, or cliff faces, on either side of the composition. On the right foreground is a bright yellow board, a poster advertising a circus or funfair. There are several possibilities, of vessels named Creole, that Yeats might have had in mind as he painted this work: these include the slave ship of the 1840's, and a ship chartered in 1847 to take emigrants from Roscommon to New York. However, specific details in this painting, such as lack of a deckhouse, the rounded stern, short masts and long bowsprit, suggest that it was the yacht Creole, built by Camper and Nicholson in 1927, that excited Yeats's interest and imagination. During World War II, Creole was loaned to the British Admiralty. Her rig and deckhouse were removed, and she was used for transporting troops and hunting mines. By 1946-the year this work was painted-Creole was in a sorry state, and a long way from her years of sailing glory. A year later, she was acquired and fully restored by Stravos Niarchos, the Greek shipping tycoon. Today, Creole is owned by the Gucci family and maintained in impeccable condition at Mallorca. A keen yachtsman himself, from an early age, Yeats often painted and drew sailing vessels. He was a close friend of the poet and novelist John Masefield, whose books, such as Sea Life in Nelson's Time, The Dauber, A Tarpulin Muster and Salt Water Ballads, were an inspiration to Yeats, many of whose works contain an element of nostalgia, looking back to the great days of sailing ships. Peter Murray, October 2018
Lot 99
Nicholas Hely Hutchinson (b.1955) Towards Clare Islandoil on canvassigned with initials lower right 76 x 106½cm (29.9 x 41.9in)Frederick Gallery, Dublin, 2000; Private Collection Nicholas Hely Hutchinson Exhibition: The Portland Gallery London 1999: Cat. No. 43 (label verso); Nicholas Hely Hutchinson Exhibition: The Frederick Gallery, Dublin, December 2000: Cat. No. 46 where purchased Born in 1955 Nicholas Hely Hutchinson has strong Irish roots spending a lot of his youth staying with his grandfather the Earl of Donoughmore at Knocklofty House in Clonmel and hunting with the Tipperary foxhounds. This love for Ireland continued into adulthood and he regularly holidayed in Mayo at Burrishool Lodge, once the home of the republican writer Ernan O'Malley and his wife Helen. Images of Clew Bay were a regular feature in his London shows and his exhibitions in Dublin with the Solomon and Frederick Galleries. This work was included in his first solo exhibition at the Frederick Gallery in 2000. He has built up a considerable following for his paintings which are so immediately recognizable . His distinctive style is characterized by his unusual perspective and his vibrant palette .
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